ArtSlant - Recently addedhttp://www.artslant.com/chi/Events/show
en-us40Lindsay Cashews - Roots & Culture - August 15th - August 16th<p style="text-align: justify;">Skandoughless(TM) is an up-and-coming fashion performance label created by artist Lindsay Cashews in 2013. Cashews found that her visual art was becoming stagnate in the gallery, and decided that fashion and performance were the next step. She combines considerations of classicism, collapsed hierarchy, pop culture and gender performance in the work. She then writes music to soundtrack it on the runway, such as Mcqueen had before her.<br /> <br /> The brand is used on the runway to create performances and spectacle, as well as wearable pieces of art that can be taken to street fashion.<br /> <br /> Skandoughless(TM) debuted on the runway at Cleveland&rsquo;s Agora Theater on September 25, 2014, featuring a chain maille dress made link-by-link.<br /> <br /> Her work is based in Detroit, MI, and will be taken to New York fashion week in September 2015.</p>
<p style="text-align: justify;">Saturday, August 15th 7-10 PM: A reception at the gallery<br /> <br /> Sunday, August 16th 7 PM: Performance</p>Mon, 27 Jul 2015 15:43:03 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Nathaniel Mary Quinn - Rhona Hoffman Gallery - September 11th - October 24thMon, 27 Jul 2015 15:41:11 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Scott Reeder - Kavi Gupta Gallery - September 12th - October 24thMon, 27 Jul 2015 15:39:21 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Group Show - Kavi Gupta Chicago - Elizabeth Street - September 12th - January 16th, 2016Mon, 27 Jul 2015 15:39:04 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Jessica Stockholder - Kavi Gupta Chicago - Elizabeth Street - September 12th - January 16th, 2016<p>*A new exhibition of original work by Jessica Stockholder.</p>Mon, 27 Jul 2015 15:36:39 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
- Carrie Secrist Gallery - September 12th - October 31st<p>**</p>
<p><img src="http://dbprng00ikc2j.cloudfront.net/userimages/25249/12yr/20150727152654-Screen-Shot-2015-07-22-at-2.17.13-PM.png" alt="" width="730" height="143" /></p>
<p>&nbsp;</p>Mon, 27 Jul 2015 15:27:11 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Alice Könitz, Lasse Schmidt Hansen, Sterling Lawrence - Document - July 24th - August 29th<p style="text-align: justify;"><strong>RE|PRODUCTION </strong>is part of a series of exhibitions (organized by Michael Hall and Aron Gent) inviting both local and international artists to work on an exhibition and collaborate with the (in-house) production of a new work at Document.</p>
<p style="text-align: justify;">Document presents new context-specific works from <strong>Alice Konitz</strong>, <strong>Lasse Schmidt Hansen,</strong> and <strong>Sterling Lawrence</strong>; three artists who each <em>reproduce</em> objects, either through de-contextualization or re-presenting forms of architectural displacement. This exhibition conceptually links to an earlier exhibition of <strong>Marcus Geiger &amp; Margaret Welsh</strong>, which was presented at Document earlier this year. The series will come together next for the September exhibition with <strong>Sean Snyder&rsquo;s</strong> &ldquo;Re-Convergence (Algorithmic Archaeology),&rdquo; which will be his first US solo exhibition since his Artists Space exhibition in 2011.</p>
<p style="text-align: justify;"><strong>Alice Konitz</strong> sculptural works border on the edge of existing as architecture either as small models or sculptures. Conceived initially as small models or sketches, they sometimes reappear in her work as life size sculptural objects with names like Taco Stand, etc. Often the materials she chooses (Cardboard, mirrored foils) often force the viewer to rethink the (architectural) object; as these materials are often metaphorical stand-ins for other materials. For example &ldquo;Untitled&rdquo; (2015) which has been reproduced at Document, started out as a small model based on the memory of a table at a Swedish rest-stop. This sculpture, which functions as part table, part trashcan, was based on architectural drawings that were created to produce the object life-size. Through these gaps in memory and technical reproduction this object becomes a unique sculptural object through minor adjustments in size, material, and general placement within the gallery space.</p>
<p style="text-align: justify;"><strong>Lasse Schmidt Hansen</strong>presents a grouping of black molleton fabrics entitled &ldquo;Dismantled&rdquo; (2014 &ndash; Present). These fabrics were origi</p>
<p style="text-align: justify;"><strong>RE|PRODUCTION </strong>is part of a series of exhibitions (organized by Michael Hall and Aron Gent) inviting both local and international artists to work on an exhibition and collaborate with the (in-house) production of a new work at Document.</p>
<p style="text-align: justify;">Document presents new context-specific works from <strong>Alice Konitz</strong>, <strong>Lasse Schmidt Hansen,</strong> and <strong>Sterling Lawrence</strong>; three artists who each <em>reproduce</em> objects, either through de-contextualization or re-presenting forms of architectural displacement. This exhibition conceptually links to an earlier exhibition of <strong>Marcus Geiger &amp; Margaret Welsh</strong>, which was presented at Document earlier this year. The series will come together next for the September exhibition with <strong>Sean Snyder&rsquo;s</strong> &ldquo;Re-Convergence (Algorithmic Archaeology),&rdquo; which will be his first US solo exhibition since his Artists Space exhibition in 2011.</p>
<p style="text-align: justify;"><strong>Alice Konitz</strong> sculptural works border on the edge of existing as architecture either as small models or sculptures. Conceived initially as small models or sketches, they sometimes reappear in her work as life size sculptural objects with names like Taco Stand, etc. Often the materials she chooses (Cardboard, mirrored foils) often force the viewer to rethink the (architectural) object; as these materials are often metaphorical stand-ins for other materials. For example &ldquo;Untitled&rdquo; (2015) which has been reproduced at Document, started out as a small model based on the memory of a table at a Swedish rest-stop. This sculpture, which functions as part table, part trashcan, was based on architectural drawings that were created to produce the object life-size. Through these gaps in memory and technical reproduction this object becomes a unique sculptural object through minor adjustments in size, material, and general placement within the gallery space.</p>
<p style="text-align: justify;"><strong>Lasse Schmidt Hansen</strong>presents a grouping of black molleton fabrics entitled &ldquo;Dismantled&rdquo; (2014 &ndash; Present). These fabrics were originally used in theatres, photo studios, or galleries and their general purpose serves to block out light sources in galleries or black boxes. Generally these objects are part of the (gallery) inventory and are often kept for re- use. These remnants contain indexical traces of the original architectural spaces from which they were used, along with nail holes, plaster, and staples. By re-presenting these spatial fragments the original space becomes partially reassembled within Document.</p>
<p style="text-align: justify;"><strong>Sterling Lawrence&rsquo;s</strong><strong>&nbsp;</strong>Rack 03 is a sculpture that references a sensibility of use, which is intentionally left unclear as to what specificity this use was intended for. Studies for the form started with investigations into the skeletal supports of magazine racks. In the process of making the work, size sifted from a traditional floor magazine rack found next to a reading chair to something different. Lawrence shortened the legs, and exaggerated the length of the piece to the length of his own body. In doing so, the form began to resemble a cot in scale, however the elastic bands kept to the interior form of that found in initial studies of magazine racks. The work itself is a model for a study of translation; it becomes something new and in turn revealing a state of confusion, which questions both platforms and circumstances.</p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;"><strong><span style="text-decoration: underline;">Artists Bios:</span></strong></p>
<p style="text-align: justify;"><strong>Alice Konitz</strong> (Born in Germany, lives in Los Angeles). Since 2012, Konitz runs LAMOA Space and in 2014 she became the winner of the Mohn Award at the UCLA Hammer Museum (Los Angeles) through her participation in the &ldquo;Made in L.A.&rdquo; Exhibition. She also participated in the 2008 Whitney Biennale. Solo Exhibitions include: Galerie naechst St. Stephan in Vienna (upcoming), LAXART (Los Angeles), Susanne Vielmetter (Los Angeles and Berlin), Hudson Franklin (NY), and LACE (Los Angeles).</p>
<p style="text-align: justify;"><strong>Lasse Schmidt Hansen</strong>(Born in Denmark, lives in Copenhagen and Berlin). Recent solo exhibitions include Christian Andersen (Copenhagen), Galerie Hussenot (Paris), and Galerie Reinhard Hauff (Stuttgart).</p>
<p style="text-align: justify;"><strong>Sterling Lawrence</strong> (Born in the United States of America, Lives in Chicago) has had solo exhibitions with Devening Projects + Editions, Chicago; and Tony Wight Gallery, Chicago. Lawrence has been included in group exhibitions at Scotty Enterprises, Berlin; Soloway, NY; Columbia College, Chicago; Devening Projects + Editions, Chicago; and New Capital via Forever and Always, Chicago.</p>Mon, 27 Jul 2015 15:25:14 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Group Show - Smart Museum of Art, University of Chicago - October 1st - January 10th, 2016<p style="text-align: justify;">In the years before World War I, Expressionism was a term vanguard art circles in France, Germany, and Central Europe used to denote various modern art movements that arose after Impressionism. Whether figurative or abstract, pre-war Expressionism was foremost anti-naturalist in style and idealist in content. Utilizing simplified forms, distorted details, and unnatural colors, Expressionist artists sought to penetrate to the essence of outer appearances to elicit an emotional response from the viewer. For such artists, exaggeration expressed their inner responses to the visual world around them, whether in the service of utopian idealism or to rebut contemporary social mores and injustices.</p>
<p style="text-align: justify;">Spanning a century of momentous and rapid political, social, and economic change, this exhibition charts the ebb and flow of key Expressionist tendencies in German and Central European art from, among other countries, Czechoslovakia, Poland, and Romania.</p>
<p style="text-align: justify;">The incisive, often emotionally charged paintings, drawings, and sculptures on view&mdash;mounted from the Smart&rsquo;s collection and supplemented by select promised gifts&mdash;bear powerful witness to periods of war, utopian dreams, economic depression, political division, and personal and political exile. No single style, technique, or theme dominates. Rather, <em>Expressionist Impulses</em> offers a fluid account of multiple waves of artists who were concerned with stylistic innovation bent in the service of social and political critiques. <br /> <br /> The exhibition includes approximately 80 works and is divided into loosely chronological sections that cover major Expressionist moments in Germany: Die Br&uuml;cke (1905&ndash;1914), Der Blaue Reiter (1911&ndash;1914), New Objectivity (1920s), and Neo-Expressionism (1960&ndash;80s). It also brings to the surface often overlooked international connections to modernism and the expressive impulse in avant-garde artists active across the great art centers of Germany and the Austro-Hungarian Empire before the rupture of The Great War and in a divided Germany and Communist Europe throughout the Cold War.</p>
<h3>Related projects</h3>
<p style="text-align: justify;">In nearby galleries, the Smart Museum presents two related collection-based projects. <em>To See in Black and White: German and Central European Photography, 1920s&ndash;1950s</em> offers a selection German and Central European photography by Walter Peterhans, Hannah H&ouml;ch, Franti&scaron;ek Drtikol, Jarom&iacute;r Funke, and others. <em>Expressionist, New Objectivity, and Constructivist Prints, 1905&ndash;1925: Recent Acquisitions</em> presents prints by the Austrian, German, and Hungarian masters Max Beckmann, Wassily Kandinsky, Alfred Kubin, L&aacute;szl&oacute; Moholy-Nagy, Emil Nolde, and Karl Schmidt-Rottluff.</p>Sun, 26 Jul 2015 06:11:38 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Peter Wächtler - Renaissance Society - September 15th 7:00 PM - 8:00 PM<p style="text-align: justify;">Peter W&auml;chtler&nbsp;is the Centennial artist-in-residence, producing a new body of work for a solo exhibition to open at the Renaissance Society in February 2016. Employing various media&mdash;from ceramics to drawing to filmmaking to sculpture&mdash;this Brussels-based artist&rsquo;s practice is at the core engaged with narrative. Here he reads from a new text.</p>
<p style="text-align: justify;">Peter W&auml;chtler was born in 1979 in Hannover and lives and works in Brussels and Berlin. He has recently had solo exhibitions at Reena Spaulings, New York (2014), Westf&auml;lischer Kunstverein, Munster (2014), and d&eacute;pendance, Brussels (2013). His work has been featured in numerous international group exhibitions, including <em>2015 Triennial: Surround Audience </em>at the New Museum, New York (2015), the Liverpool Biennial (2014), La Biennale de Lyon 2013, and <em>Pride Goes Before a Fall &ndash; Beware of a Holy Whore</em> at Artists Space, New York (2013). A book of his texts, <em>Come On</em>, was published in 2013 by Sternberg Press.</p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;"><strong style="color: #818a77;">This event&nbsp;is part of the Renaissance Society&rsquo;s Centennial program.&nbsp;<a style="color: #91b81a;" title="Centennial" href="http://www.renaissancesociety.org/centennial/" target="_blank">Read more.</a></strong></p>Sun, 26 Jul 2015 06:08:32 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Paul McCarthy - Renaissance Society - November 8th - January 24th, 2016<p style="text-align: justify;">Known widely for his prolific output of video, sculpture, performance, and installation, Paul McCarthy also works extensively in two dimensions. The ongoing series <em>White Snow</em>, first exhibited at Hauser &amp; Wirth New York in 2009, reveals the artist&rsquo;s deft draftsmanship and layered, gestural approach to drawing. His presentation at the Renaissance Society features rarely seen works from the series, produced between 2008 and 2015.</p>
<p style="text-align: justify;">Sex and mythology, bodies and violence, death and humor&mdash;these works are at once familiar and repulsive. With his characteristic irreverent wit, McCarthy melds the iconic 1937 Walt Disney depiction of Snow White with the darker forces of the fairy tale&rsquo;s earlier incarnations. The selection here features figures in various stages of erotic play, architectural renderings, and textual annotation, ranging in size from small sketches to large collages. Also included are preparatory works for McCarthy&rsquo;s major installation, <em>WS, </em>at the Park Avenue Armory, New York in 2013. The drawings represent the threshold between fantasy and reality, the point at which the artist&rsquo;s imagination directly crosses over into the physical realm before being further developed into three- and four-dimensional works.</p>
<p style="text-align: justify;">McCarthy&rsquo;s influence on contemporary art can&rsquo;t be underestimated, yet he has never had a solo exhibition in Chicago. Co-curated by Solveig &Oslash;vsteb&oslash; and Susanne Ghez, the current and former Executive Directors of the Renaissance Society, respectively, this presentation offers an opportunity to consider a significant area of this major artist&rsquo;s practice. A series of lectures on topics related to McCarthy&rsquo;s practice will accompany the exhibition, including Cary Levine&rsquo;s talk, <em>The (De)Civilizing Process: Paul McCarthy&rsquo;s Regressive Routines.</em></p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;"><a title="Paul McCarthy at Hauser &amp; Wirth" href="http://www.hauserwirth.com/artists/20/paul-mccarthy/biography/" target="_blank">Paul McCarthy</a> was born in 1945 in Salt Lake City and lives and works in Los Angeles.&nbsp;Solo museum exhibitions include <em>Lala land parody paradise </em>at Haus der Kunst, Munich and Whitechapel, London (2005); <em>Head Shop / Shop Head</em> at Moderna Museet, Stockholm (2006) and Stedelijk Museum voor Actuele Kunst, Ghent (2007); <em>Central Symmetrical Rotation Movement &ndash; Three Installations, Two Films </em>at Whitney Museum of American Art, New York (2008); and <em>White Snow Dwarf (Dopey # 1) </em>at Hammer Museum, Los Angeles (2011).He has participated in many international events, including the Venice Biennale (1993, 1999, 2001); the Whitney Biennial (1995, 1997, 2004); SITE Santa Fe (2004); and the Berlin Biennial (2006).</p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;"><strong>This exhibition is part of the Renaissance Society&rsquo;s Centennial program.&nbsp;<a title="Centennial" href="http://www.renaissancesociety.org/centennial/" target="_blank">Read more.</a></strong></p>Sun, 26 Jul 2015 06:05:41 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
John Knight - Renaissance Society - October 23rd - November 29th<p style="text-align: justify;">Commissioned for Knight&rsquo;s solo exhibition at the Renaissance Society, October 2 to November 9, 1983, <em>Museotypes</em> was acquired by the Art Institute of Chicago in 1984. <strong>To celebrate the long history between the two institutions, the Art Institute&nbsp;displays this work in its Modern Wing.</strong></p>
<p style="text-align: justify;">From the 1983 exhibition text:</p>
<p style="text-align: justify;">&ldquo;Each of John Knight&rsquo;s works assumes a different form, although all have been the result of consistent ideas and goals.&nbsp;<em>Museotypes,</em>&nbsp;the work conceived for his Renaissance Society exhibition, is comprised of sixty bone-china dinner plates. Presented like a series of limited edition commemorative plates, standard china, gold-trim, 10 1/2 inch, eggshell-colored plates serve as the background for regal purple-blue images of architectural floor plans. Each floor plan, silk-screened and overglazed in the center of the plate, belongs to a different museum. The plans of each museum convey individual, formal eccentricities, but as a group they present a generalized appearance.</p>
<p style="text-align: justify;">Knight has not represented the particular museums by their most familiar image&mdash;a literal rendition of the facade of each one, for example&mdash;as might appear on actual commemorative plates. Instead, the abstract configuration of the floor plan serves as a ready-made code or symbol whose concentrated form also identifies it with the contemporary emblematic trademark design, or corporate logotype. Over the last several decades, the corporate trademark has become a commonplace of industry, an aggressive marketing strategy aimed at instant product visibility. In <em>Museotypes</em>&nbsp;Knight fuses various visual but specifically non-art traditions in order to questions and revalidate contemporary art practice.&rdquo;</p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;"><strong>This exhibition is part of the Renaissance Society&rsquo;s Centennial program. <a title="Centennial" href="http://www.renaissancesociety.org/centennial/" target="_blank">Read more.</a></strong></p>Sun, 26 Jul 2015 06:03:36 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Wadada Leo Smith - Renaissance Society - October 25th 3:00 PM - 5:00 PM<p>Smith offers a solo performance of&nbsp;some of the key scores in the Renaissance Society exhibition.</p>
<p>&nbsp;<strong style="color: #818a77;">This event&nbsp;is part of the Renaissance Society&rsquo;s Centennial program.&nbsp;<a style="color: #91b81a;" title="Centennial" href="http://www.renaissancesociety.org/centennial/" target="_blank">Read more.</a></strong></p>Sun, 26 Jul 2015 06:01:39 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Wadada Leo Smith - Renaissance Society - October 11th - October 29th<p style="text-align: justify;">Trumpeter, composer, educator, and visual artist&nbsp;Wadada Leo Smith is a pioneer in the fields of contemporary jazz and creative music. During the 1960s and early &lsquo;70s, Smith was based in Chicago, where he was a key member of the Association for the Advancement of Creative Music (AACM). Largely recognized as a watershed organization in the history of jazz, the AACM is known for crafting a vibrant dialectic between improvised and formally scored music, and this year celebrates its 50<sup>th</sup> anniversary. The Renaissance Society presentation runs in parallel to MCA Chicago&rsquo;s exhibition <a title="The Freedom Principle at the MCA" href="http://www2.mcachicago.org/exhibition/the-freedom-principle-experiments-in-art-and-music-1965-to-now/" target="_blank"><em>The Freedom Principle: Experiments in Art and Music, 1965 to Now</em></a> (July 11 to November 22, 2015), which features one of Smith&rsquo;s four-panel scores.</p>
<p style="text-align: justify;">Smith was one the most active and articulate proponents of this exchange, legitimizing a formal ideology around improvised music and the illustrated score that he continues to build on to this day. <em>Ankhrasmation</em>&mdash;a neologism formed of &ldquo;Ankh,&rdquo; the Egyptian symbol for life, &ldquo;Ras,&rdquo; the Ethiopian word for leader, and &ldquo;Ma&rdquo;, a universal term for mother&shy;&shy;&mdash;is the systemic musical language that Smith has developed over nearly 50 years. The scores eschew (and at times incorporate) traditional notation in favor of symbolic compositions of color, line, and shape. These provide specific instruction for the seasoned improvisor while allowing musicians to bring their own special expertise and individual strengths to each performance.</p>
<p style="text-align: justify;">The Renaissance Society presents the first comprehensive exhibition of Smith&rsquo;s <em>Ankhrasmation </em>scores. The more than 45 works on paper include the first of Smith&rsquo;s scores to use non-standard visual directions, &ldquo;The Bell,&rdquo; which was debuted on Anthony Braxton&rsquo;s seminal 1968 recording, <em>Three Compositions of New Jazz. </em>A number of scores from the exhibition will be performed by Smith&rsquo;s Golden Quartet in a concert on October 24, and Smith will perform solo in the gallery on October 25.</p>
<p style="text-align: justify;">Experimental music has been a component of the Renaissance Society&rsquo;s programming since the first concerts hosted in conjunction with the World&rsquo;s Fair in Chicago in the 1930s. Curated by Hamza Walker &nbsp;and John Corbett, both of whom have at different times served as music curators at the Renaissance Society, the exhibition is accompanied by two concerts and panel discussion.</p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;"><a title="Wadada Leo Smith" href="http://www.wadadaleosmith.com/" target="_blank">Wadada Leo Smith</a> was born in Leland, Mississippi in 1941 and trained with the U.S. Military band program, Sherwood School of Music, and Wesleyan University.&nbsp; A faculty member at The Herb Alpert School of Music at California Institute of the Arts until his retirement in 2013, Smith also taught at the University of New Haven, the Creative Music Studio in Woodstock, NY, and Bard College. Smith currently performs with the Golden Quartet, Silver Orchestra, and Organic ensembles, and his compositions have been performed by other ensembles including AACM-Orchestra, Kronos Quartet, San Francisco Contemporary Music Players, New York New Music Ensemble, and California E.A.R. Unit. Recent awards and commissions include MAP Fund Award for &ldquo;Ten Freedom Summers&rdquo; (2011), Chamber Music America New Works Grant (2010), NEA Recording Grant (2010), Fellow of the John Simon Guggenheim Memorial Foundation (2009-2010).</p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;"><strong>This exhibition is part of the Renaissance Society&rsquo;s Centennial program.&nbsp;<a title="Centennial" href="http://www.renaissancesociety.org/centennial/" target="_blank">Read more.</a></strong></p>Sun, 26 Jul 2015 05:59:37 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Ian Wilson - Renaissance Society - October 1st - October 4th<div class="entry-content">
<p style="text-align: justify;">Must the visual arts be visual?&nbsp; According to Ian Wilson, the answer is no. What seems perhaps an absurd question stems from the modernist impulse to isolate those characteristics unique to the visual arts experience. With the advent of conceptualism, artists began questioning what form, if any, ideas should assume; for the most orthodox members of the movement, nothing was off limits.</p>
<p style="text-align: justify;">Wilson takes this repudiation of the physical and the aesthetic to the furthest extreme. For him, it is not enough to say that the visual arts do not have to be visual. Nor is it enough to say that they could assume the form of language. Following a self-reflexive logic, Wilson asserts that questions about art can themselves be art. In 1968, the artist held his first <em>Discussion</em> in Lawrence Weiner&rsquo;s studio, and since then the unrecorded conversation has been his only medium.</p>
<p style="text-align: justify;">Over more than 45 years, Wilson has conducted <em>Discussions</em> in galleries, museums, and homes internationally. Neither recorded nor transcribed, their only physical manifestation is a signed certificate attesting to their existence. In a 2002 interview, he explained, &ldquo;I am interested in the shape of ideas as they are expressed, spontaneously, at the moment itself. By concentrating on spoken language as an art form I have become more distinctly aware that I as an artist am a part of the world.&rdquo;</p>
<p style="text-align: justify;">For the Renaissance Society, Wilson stages two new&nbsp;<em>Discussions</em> on the subject of &ldquo;The Pure Awareness of the Absolute&rdquo; on Thursday, October 1 and Sunday, October 4. <em>Reservations are required and space is limited.</em> Please <a title="Contact the Renaissance Society" href="http://www.renaissancesociety.org/about/contact/" target="_blank">contact the Renaissance Society</a> for further details.</p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;">Ian Wilson was born in South Africa 1940, moved to the United States in 1960, and lived in New York City from 1966 to 1986. He has exhibited internationally since the mid-1960s, and has engaged in&nbsp;<em>Discussions</em>&nbsp;at venues including John Weber Gallery, New York (1972&ndash;76); Konrad Fischer Galerie, Dusseldorf (1970, 1972); the California Institute of the Arts, Los Angeles (1971); New York University, New York (1971, 1977); Institute of Contemporary Arts, London (1970, 1975); Van Abbemuseum, Eindhoven, Netherlands (1976&ndash;83, 1985, 1986, 2005, 2009); Documenta 7, Kassel, Germany (1982); Centre Pompidou, Paris (1981, 2005); Galerie Jan Mot, Brussels (2004, 2006, 2008, 2011); Museum Kunstpalast, Dusseldorf (2005); Peter Blum Gallery, New York (2007); Swiss Institute, New York (2007); Yvon Lambert Galery, New York (2007); Museion Bolzano (2008); Galleria Massimo Minini, Brescia (2009); Galerie Jan Mot and Galleria Massimo Minini at Art Basel 41 (2010); Dia:Chelsea, New York (2013); and Dia:Beacon (2011-15), Beacon, NY. Wilson lives and works in New York&rsquo;s Hudson Valley.</p>
<p style="text-align: justify;">&nbsp;</p>
<p style="text-align: justify;"><strong>This exhibition is part of the Renaissance Society&rsquo;s Centennial program.&nbsp;<a title="Centennial" href="http://www.renaissancesociety.org/centennial/" target="_blank">Read more.</a></strong></p>
</div>Sun, 26 Jul 2015 05:57:39 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Geert Goiris, Iman Issa, Florian Joye, Nadav Kander, Jan Kempenaers, Basim Magdy, Nicolas Moulin, Ana Vaz - Museum of Contemporary Photography - October 15th - December 23rd<p style="text-align: justify;">Monuments are deliberate gestures&mdash;objects or structures created to commemorate an event, person or era. Their meaning is usually &nbsp;imposed, and they often serve as focal points for aspirational civic and political attributes like valor and sacrifice, or to underscore a foundational political narrative. But their meaning can transform, changing over time as the relevance of their symbolism ebbs and flows due to social and political shifts.&nbsp; Like monuments, architecture and photography are also inflected with a grace of intention, and both have the ability to commemorate or represent a nation, event, time or place. The act of photographing monuments and buildings transforms them, sometimes revealing some of the original qualities and more closely evoking the response that they were originally intended to have.&nbsp;And photographs have an inherent memorial quality. This group exhibition examines the work of international artists, some of whose work addresses actual monuments, some whom look at architecture and its relationship to memory and how its importance and symbolism can shift over time, and others approach the idea of the future monument. &nbsp;</p>
<p style="text-align: justify;">The 2014-2015 season is sponsored by The Andy Warhol Foundation for the Visual Arts, BMO Harris Bank and the Illinois Arts Council Agency. It is also partially supported by a CityArts Grant from the City of Chicago Department of Cultural Affairs and Special Events.</p>
<p><img src="http://www.mocp.org/images/support/BMOHB_TK.JPG" alt="bmo" width="200" height="58" />&nbsp;&nbsp;<img src="http://www.mocp.org/images/support/logo-bw-ok.jpg" alt="IAC" width="100" height="89" />&nbsp; &nbsp;<img src="http://www.mocp.org/images/support/DCASE.jpg" alt="dcase" width="100" height="34" /></p>
<p>&nbsp;</p>Sun, 26 Jul 2015 05:52:41 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list
Geof Oppenheimer - Mary and Leigh Block Museum of Art - September 11th - September 11th<p style="text-align: justify;"><strong>The Block Museum is proud to present the first solo museum exhibition of the work of Chicago-based artist <a href="https://dova.uchicago.edu/faculty/oppenheimer">Geof Oppenheimer</a>.</strong><br /> <br /> Opening in September 2015, the exhibition will feature two new works commissioned by the Block, including a large sculptural project, occupying the museum&rsquo;s Main Gallery, and the video, <em>Drama</em>, on continuous view in the Alsdorf Gallery.<br /> <br /> With each of these new works, Geof Oppenheimer deepens his on-going investigations into the rational, regulating forces of human society&mdash;political, economic and rhetorical&mdash;and the ways in which social significance is assigned and inscribed.<br /> <br /> The new sculpture, <em>Civil/Evil</em>, probes structures of power and how they are communicated through material and image, as well as their tangible impact on the individual. The video <em>Drama</em> is an elegy for our relations between one another and with institutions, as they are shaped and predetermined by systems of exchange and labor.</p>
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<p style="text-align: justify;">Geof Oppenheimer, Associate Professor of Practice in the Department of Visual Arts at the University of Chicago, has been included in museum group exhibitions and biennials nationally and internationally.&nbsp;<br /> <br /> The Block recently expanded its contemporary art program, making a commitment to artists working locally and globally. With this new initiative, the museum will undertake commissions of new art works and produce first catalogues, positioning an artist&rsquo;s work within the context of their peers. Geof Oppenheimer is the first artist to be invited to develop and present new work as part of this initiative.</p>
<p style="text-align: justify;">Support for this exhibition is generously provided by the Diane and Craig Solomon Contemporary Art Fund, the Chauncey and Marion Deering McCormick Foundation, the Elizabeth Firestone Graham Foundation, and Lynn Hauser and Neil Ross.&nbsp; </p>Sun, 26 Jul 2015 05:49:27 +0000http://www.artslant.com/chi/Events/listhttp://www.artslant.com/chi/Events/list